In the association year from 1 July 2016 to 30 June 2017, the Board of Directors has worked to expand the service to our members, both in terms of contact with members and related offers, but also in terms of supporting DR's choirs and orchestras financially and opinion-wise, as stated in our Articles of Association.
Let me start with the opinions first, because it's no secret that the existence of DR's choirs and orchestras has become more uncertain over the past year. Several parties have hinted at a future for them outside DR.
Politicians can of course decide what they want, but we on the board have discussed the proposals that have been made, and we have not met a single good argument in favour of moving either choirs or orchestras or, for that matter, the Concert Hall out of DR's auspices. It is worth emphasising that Venneforeningen is non-political, and its purpose is not to support DR, but only its choirs and orchestras, and that alone is the background to our considerations and concerns.
There is nothing to suggest that the high artistic standard that the symphony orchestra in particular has achieved would be improved by the orchestra being separated from DR, possibly to be merged with the Royal Danish Orchestra. Quite the opposite.
You cannot save money on either choirs or orchestras by changing the way they are organised. Where you could POSSIBLY see savings - administration - we see a lean administration at DR and similarly chaotic conditions at the Royal Danish Theatre, both organisationally and financially.
Similarly, the rehearsal conditions, rehearsal rhythm, working methods - indeed the entire production, if we are to speak in business terms - for DR's choirs and orchestras are so different that it makes no sense to merge with either the chapel, opera choir or others. The two institutions already borrow from each other when it makes sense and is needed.
Some people have said, based on the - regrettable - closure of the DR Entertainment Orchestra a few years ago, that politicians must protect us licence payers against similar restrictions on the symphony orchestra, but this is objectively a wrong argument. Through the Public Service Agreement, politicians can protect themselves against reductions, which, incidentally, no one in DR has spoken in favour of.
At the same time, there's no doubt in my mind - and I'll put on my old DR hat for a moment - that listeners, viewers and users of the Concert Hall will hear and see LESS music and singing in DR's programmes and live in the Concert Hall and around the country if you chop down the axe between the Concert Hall and DR's other departments.
It's so easy today to use DR music and song in DR's other productions. It becomes much more of a hassle - not least administratively, if you have to negotiate between two organisations about productions, prices, deadlines and the like every time instead of - as is the case today, where choirs and orchestras participate in 500 DR broadcasts, sometimes arranged so simply that you go from the other departments to the blue house and ”borrow” a musician or singer from the other studios. Finished work.
For our organisation, it would also mean considering its future existence if the symbiosis between communication, presentation and structure that has always been the foundation of the Friends of the Earth were to be disrupted.
You are very welcome to engage in the public debate, the more people take part in it, the better the basis for politicians to know the wishes of the population - and thus avoid making knee-jerk solutions on a thin basis that nobody ends up being happy about.
Let me now turn from an uncertain future to a certain past, namely our activities in the past year.
I think we can take pride in the fact that the ties between the members, the ensembles and the organisation have become closer in the past year. We have gained new members of the family, the Girls' Choir and the Big Band. This has helped to expand the association's offer to members of music and singing experiences at a high level at prices where everyone can participate.
At the same time, we have fulfilled our purpose of supporting the orchestra and choirs as well as their members financially through instrument purchases, scholarships and in other ways. We will come back to this during the financial review.
And certainly also through our website, where we have been able to present the organisation's offerings to members and at the same time give you the opportunity to see what's happening in and around the ensembles, even in places where audiences don't normally go. We got direct reports from the orchestra's tour in the USA from Choir and Orchestra Director Kim Bohr and daily reports from Michael Emery, the Vocal Ensemble's artistic director from the successful, but hectic tour in China.
It is our hope that you will make great use of the offers to get a little more for your membership fee. In this context, let me mention a few of our latest initiatives.
We have initiated some experiments where our new music expert in the organisation will go through parts of the works you can hear at rehearsals and practice sessions. So you can prepare for the experiences in the comfort of your living room - or dissect the experiences in the hall afterwards. Today, we only have the option of presenting the examples in the review in sheet music form, but we are working hard to make it more accessible to those of us who can't read music by presenting the examples in audio. It's almost a condition that the walkthrough can be a little more accessible to those who don't have a great musical background.
We are also working on a letterbox where you can ask questions, not just to the association as such, but also to musicians, singers and others about anything relevant to the association's members - and then get answers on the website. In general, we would like to hear from you when there is something you would like us to address on the website.
We'll also tell you a lot more about what goes on in the everyday life of the ensembles.
Of course, these activities cost money, but we have accumulated some of it in previous years as the organisation has grown. Now we want to put some of that money to work for the benefit of the members who have paid for it.
I'll come back to the economy, but just a brief summary of what you get for your membership fees, in addition to the website, member services and support for the artists
We have completed
8 open rehearsals with the symphony orchestra
2 trial runs with the same - where you follow the exercise from start to finish
4 work rehearsals with the Vocal Ensemble and Concert Choir
6 brunch concerts with choirs and/or orchestras
Then we organised a special event where brass players from the symphony orchestra premiered a work by conservatory professor Mogens Andersen especially for the occasion, and where the composer gave an amusing, knowledgeable and engaging talk about brass players through the years. Big applause from the many members in attendance.
On top of that, in a number of cases we have been able to offer tickets to the ”real” concerts at a fraction of the normal price and to other DR-organised events and in some cases also concerts organised by others.
As mentioned, the inclusion of the Girls' Choir and Big Band in the association means that we can now and in the future expand the offer to our members within the concerts they organise.
The board has met regularly, and as chairman I have enjoyed good work and co-operation within the board.
I would like to highlight two members, Vice Chairman Finn Gravesen and Leif Aamand, who have been involved for 10-12 years. They have chosen to leave the board, but Finn will still be actively involved in the organisation - we'll see. They have both done a great job for the association and have a large part of the credit for the rapid development the association has undergone.
Contributing to their decision has also been to make room for the renewal and composition of the board, which, among other things, was a request from you at last year's general meeting. More about this under the item: Election to the board
There is certainly also reason to thank our octopus in the organisation, Milena, for her efforts in the past year. I think most of you know her as an extraordinary workhorse in your service. If there is anyone who doesn't know her, go to the website and read her profile. Finally, thank you to our newest helper Niclas N. Hundahl, who, in addition to helping with member services, also contributes both content and practical work with the website and IT system.
In the financial statements, I will discuss our work to bring the association up to the increasingly comprehensive organisation it has become in recent years. This includes the requirement for a full overview of the individual parts of the organisation's activities. But let me say right now that it is the board's view that the activities must be neutral in terms of income and expenses.
Those who attend the rehearsals must pay the costs associated with it. Those who drink coffee will have to pay for it themselves, and those who buy CDs and DVDs will also have to pay the cost price for them, with any discounts we can get you, of course.
The membership fee goes towards the necessary administration, including communication and what is stated in our statutes - to support the ensembles and the individual musicians.
As for the latter, we are pleased to present a couple of awards again this year, later today and hear a sample of the talented musicians and singers we are Friends of and with.